Life of Christ in art

The Life of Christ as a narrative cycle in Christian art comprises a number of different subjects, which were often grouped in series or cycles of works in a variety of media, narrating the life of Jesus on earth, as distinguished from the many other subjects in art showing the eternal life of Christ, such as Christ in Majesty, and also many types of portrait or devotional subjects without a narrative element. Most of the subjects forming the narrative cycles have also been the subjects of individual works, though with greatly varying frequency. By around 1000, the choice of scenes for the remainder of the Middle Ages became largely settled in the Western and Eastern churches, and was mainly based on the major feasts celebrated in the church calendars.

The most common subjects were grouped around the birth and childhood of Jesus, and the Passion of Christ, leading to his Crucifixion and Resurrection. Many cycles covered only one of these groups, and others combined the Life of the Virgin with that of Jesus. Subjects showing the life of Jesus during his active life as a teacher, before the days of the Passion, were relatively few in medieval art, for a number of reasons. From the Renaissance, and in Protestant art, the number of subjects increased considerably, but cycles in painting became rarer, though they remained common in prints and especially book illustrations.

The main scenes found in art during the Middle Ages are:

These scenes also could form part of cycles of the Life of the Virgin:

After the Early Christian period, the selection of scenes to illustrate was led by the occasions celebrated as Feasts of the Church, and those mentioned in the Nicene Creed, both of which were given prominence by the devotional writers on whose works many cycles appear to be based. Of these, the Vita Christi ("Life of Christ") by Ludolph of Saxony and the Meditations on the Life of Christ by the Pseudo-Bonaventura were two of the most popular from the 14th century onwards. Another influence, especially in smaller churches, was liturgical drama, and no doubt also those scenes which lent themselves to a readily identifiable image tended to be preferred. Devotional practices such as the Stations of the Cross also influenced selection.

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